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原创： 白夜 White Night
2019年11月16日10:00，第四届上海国际诗歌节在西岸艺术中心准时拉开序幕。诗人翟永明斩获本届“金玉兰”诗歌大奖，并由叙利亚诗人阿多尼斯为（同时也是2017年该奖得主）为其颁奖。
在颁奖致辞中，阿多尼斯提到：诗歌不仅是诗篇，不仅是创作发表诗歌，诗歌首先意味着发掘世界的诗意，改变看待人的方式，改变表达和创作形式。诗歌和爱一样是人的终极意义呈现的空间。
本文为翟永明在开幕典礼上的获奖感言。
获奖感言
谢谢金玉兰奖评委，谢谢上海国际诗歌节给了我这个意外的奖项！谢谢阿多尼斯先生为我颁奖！这是另一重惊喜。
Thank you, judges of the Golden Magnolia poetry award! Thank you, Shanghai International Poetry Festival, for giving me this unexpected honor! And thank you, Mr Adonis for presenting me the award! This is truly a double surprise.
我一直喜欢诗人伊丽莎白毕肖普的一句话：创作是一种忘我而无用的专注。九十年代时，我也写过一句诗：紧急，但又无用地下潜，再没有一个口令可以支使它！我愿意用这两句话，来概括我四十多年的写作。
I have always liked a line from the American poet Elizabeth Bishop, who said: “Creation is a self-forgetful, perfectly useless concentration.”
In the 1990s, I also wrote a line in my poem “Sadness of the Submarine,” which says: “ Alarm! Time to dive to depth quickly, though useless. There is no more command in this situation!”
I would like to use these two lines to sum up my more than 40 years of writing.
四十年来，中国当代诗歌发生了很大的变化。从八十年代的辉煌崛起，到九十年代的销声匿迹；在千禧年之后的十年里，诗歌退至社会边缘，直到最近这些年，新诗在一代年轻人中间，渐渐回暖。
In the past 40 years, great changes have taken place in the field of Chinese contemporary poetry: from its glorious rise in the 1980s to its nearly disappearance in the 1990s.
In the decade after the millennium, poetry retreated to the margins of society. It wasn’t until recent years that poetry in the name of “new and beyond” began to warm up among a new generation of young people.
翟永明 诗人、作家、文化品牌“白夜”创始人
中国当代诗歌，伴随着中国经济和现代化的大变革，沉浮起落；我是这一旷日持久的激变和成熟过程的见证人，参与者，以及小小的推动力量。
The Chinese contemporary poetry has witnessed the profound changes of China’s economic development and rapid modernization that began in the 1980s.
Be a generation who was born and living through the era, I am a participant, and hopefully, a small driving force in this long process of transformation and maturity.
四十年间如反掌。面对当今世界的各种乱局和诸多问题，面对现实的无力感；诗歌写作，不仅仅是我隔绝喧嚣、间离现实的内心的桃花源，也是我联接现实、追求希望和真相的路径。
Forty years has pass in the wink of an eye. In the face of the chaos and problems in today’s world, there is, in me, a sense of powerlessness and the unknown.
Poetry writing is not only my inner “Tao Hua Yun,” or a Land of Peach Blossom which is isolated from the hustle and bustle of the reality, but also my path to seek truth and understanding about the purpose of life and real hope for a better future.
我借用汉语的精微和神奇，重新塑造生活，清洗内心；正是这“无用”和“下潜”，赋予了我人生的积极意义。它构造出我内心的小宇宙，让我去超越局限于我的一切现存概念；超越新与旧、纯与不纯、广阔与深度、理想与现实这样的概念，并将之全部融入我的创作中：克制中得寸进尺；尺度里天马行空。
I would like to borrow the subtlety and magic of the Chinese language to reshape my life and cleanse my heart. It is this “uselessness” and “diving” that give the true meaning and purpose of my life.
Poetry help to construct a little universe within me, which allows me to transcend all existing concepts — beyond the new and old, vast and deep, ideal and reality; and integrate them all into my creation. The scale of my work, I should say, is unconstrained.
我早已不在意来自任何人的定义，而努力用未来的文本和语言，来定义自身创作的最大可能性。四十年的写作，可以说，是我一生最大的收获。而此次意外得到的金玉兰奖，则是额外的收益和奖励，使我内心充满感动。
Today, I no longer care about the definition from any critics of my work. I try to define the maximum possibility of my creation with a language that is unique to my own.
Winning the Golden Magnolia poetry award, so to speak, is the greatest harvest in life for my 40 years of writing career. This is indeed an additional benefit and reward, which makes me deeply moved.
我希望自已接下来的写作，会对得起这一份奖励和期许。谢谢大家！
I wish my next work will be worthy of this award and expectation from all of you. Thank you!
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《女性五人诗》| 王小妮、翟永明、蓝蓝、周瓒、海男|
人民文学出版社
点击图片 购买《女性五人诗》
王小妮……一行行白栅栏一样的诗,像小院子似地围着她,像浓荫的城堡,簇拥着她。她,像街头上任何一个人那样活着,安详地洗衣、煮饭。读一些字,写一些字。
——评论家徐敬亚
她（翟永明）的生活，跟写诗是等边关系，是收缩性地建造最大可能的心灵协调的形式，而不是美学，也不是生活的恶意转换，只是传统的生活本身，一种丰富的反应……她没有任何理论的框架，也无需对形象保密。
——诗人、学者钟鸣
蓝蓝诗歌的特质在于一种为敏锐的感受力所激发的“诗性正义”，她的诗越来越强烈地表现出一种从热爱作为出发点的社会批判。在从“赞美”向批判的转化中，对生命的热爱与尊重使她免于陷入流行的反讽境地。蓝蓝的诗将社会伦理情感的伤害感受与日常生活中诗意时刻隐喻式的并置在一起，充满了内在的伦理性与诗意之间的张力。
——评论家耿占春
在我看来，如何从女性自身的独特经验出发提出具有普遍意义的人性命题，应该成为女性诗歌关注的焦点之一，而周瓒的写作恰如其分地实现了这一点。
——评论家张桃洲
第一次读到她（海男）的诗，是她1987年参加“青春诗会”时所作的一首长诗《首都》，我当时惊讶于一位年轻女诗人对这类题材的创作性的把握，不等我有所反应，她那里长诗、组诗和无穷尽的短诗，就像她家乡的澜沧江一样，澎湃而至。我吃惊、感叹，她的迸发的热情，她的快熟运动的写作方式，她如涌的文采，是身躯的强力扭动还是语言的？
——诗人翟永明
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